Who here plays in MODES ??

[Old gold]

Yes, the Mixolydian should have a flat seven. For me, the best way to represent the modes is to show them using a single root key, say C. Also just use ascending notes from the root. I think you are using different root notes in the diagram.

If you use C as the root, the notes are just C D E F G A B C. The Mixolydian is the V chord in C (a G7), so the notes of the Mixolydian scale would be G A B C D E F G. Play those notes on the bass and you can see that the seventh is flat. As another example in the key of C, the IV Chord (Fmaj7) is Lydian. The scale notes of the Lydian in C are F G A B C D E F. Play that scale on the bass and the shape has a sharp 4 that distinguishes it from the C major scale.

 

[mike buzzetti]

it seem the WAY it is shown is confusing some people ? looks totally normal to me because I learned it this way.

 

[tbz]

Wow man what a Richard !! I know some theory but not as much as others , SORRY I DONT EQUAL UP TO YOU , have a nice day.

It’s pretty basic stuff really. A quick Google and or 30 minutes on YouTube would have provided a solid answer.

Since:

Everyone plays modes whether they realize it or not. Unless you playing Atonal music.

 

[6-3-2]

I'm sure I do, but honestly, I just go by key more or less. There's the sharps and or flats (or neither) and that's that. I usually just play patterns from scales that fit under four fingers and eliminate what sounds off. Then fairly quickly, maybe 30 seconds to a minute, I have a map of notes that work with the song I'm playing. Odds are I'm mapping out modes outside of standard major and minor all the time, I just couldn't tell you the name unless I started writing down the notes on a piece of paper. In my mind it's just the visual map on the board, I even forget the notes sometimes. Odds are I should use a notepad more, but hey, it works for me.

 

[Snarf]

UNLEASH . . . . . . THE . . . . . . WALLS . . . . . . OF . . . . . . . . TEXT

Studying modes was one step toward developing ideas and vocabulary. Deeper studies of arpeggios was more important, I think. But when I'm playing, I'm not really thinking. I'm listening and reacting.

Oh, and modes as a soloing tool: not really, no. When I was chained to that rigid thinking (any D&D players get the reference?), everything I played was so linear. So nah.

Most of the soloing I do is on guitar, btw. I lost interest in bass solos a few years ago.

 

[mike buzzetti]

It’s pretty basic stuff really. A quick Google and or 30 minutes on YouTube would have provided a solid answer.

Since:

Obviously I have no intention of doing that , Im not gonna teach anybody anything here.

 

[tbz]

Obviously I have no intention of doing that , Im not gonna teach anybody anything here.

Um. Ok?

 

[6-3-2]

UNLEASH . . . . . . THE . . . . . . WALLS . . . . . . OF . . . . . . . . TEXT

Studying modes was one step toward developing ideas and vocabulary. Deeper studies of arpeggios was more important, I think. But when I'm playing, I'm not really thinking. I'm listening and reacting.

Oh, and modes as a soloing tool: not really, no. When I was chained to that rigid thinking (any D&D players get the reference?), everything I played was so linear. So nah.

Most of the soloing I do is on guitar, btw. I lost interest in bass solos a few years ago.

I think people aren't always aware that many incredible musicians and composers are doing what you say, which is listening and reacting. Mick Karn famously only learned theory much later in life and that clearly didn't stop him from being a great and unique player. I remember in an interview he said jazz guys laughed in a joyous way when they said "go up the fretboard" and he went towards the headstock. Even they respected that he had his own signature style without the theory. Not to say skip the theory, we're not all Mick Karn, but really, it's nothing without a great ear and striving to express yourself.

 

[lfmn16]

Not to say skip the theory, we're not all Mick Karn,

+1

And this is what the people who look down their noses at theory ALWAY miss.

It reminds me of a scene from Crossroads when Eugene says, "I'm not Robert Johnson" and Willie Brown says, "You sure aint, you aint the beginnings of a pimple on Robert Johnson's @@@."

 

[Kael]

Modes no. Chord tones 4 lyfe, ya heard.

 

[Benjamin Earl]

Im referencing several charts here and they match ?? View attachment 4598163 View attachment 4598164

These charts are for 6 string guitar, so it is tuned EADGBE. The top 2 strings may not make sense to a bass player who tunes in 4ths. The bottom 4 strings are correct for a bass tuned EADG.

 

[Charlie Tuna]

Yeah, man... I got one!

View attachment 4597702

Who rang?

 

[6-3-2]

+1

And this is what the people who look down their noses at theory ALWAY miss.

It reminds me of a scene from Crossroads when Eugene says, "I'm not Robert Johnson" and Willie Brown says, "You sure aint, you aint the beginnings of a pimple on Robert Johnson's @@@."

Oh for sure, but my main point was, don't forget the artistry. Theory can give you extremely powerful guidelines, but it won't teach you how to express yourself. Mick and Robert Johnson knew how to express what they felt beautifully. We should all be working those expressive muscles too, we are in the end performing and creating art.

 

[smtp4me]

Just curious , I learned everything on guitar using a Jazz improvisation book as a kid , hence I really learned to play modes across the fret board , I still use some of it to stay in key ( Much less than gtr ) I try not to over play and stay in the box on bass and focus on groove and pocket.

Technically speaking, we all do. The major scale is also known as Ionian mode, minor is known as Aeolian mode, etc.

 

[2112]

Who rang?

STRONG username-to-thread derail content...

Not only that, but your message was the 2,112th time you've posted to TB. Merely coincidence?

 

[brianrost]

I play a lot of folk music that's strings based (fiddles, banjos, guitars, mandolins) and there are many modal songs in that repertoire. I might still just play root-five, but the song itself is modal.

Here's one example. The changes are I to bVII to I to V. Mixolydian with the V (because it's major) being an example of modal interchange because it uses the V chord is major, so Ionian mode.



A very similar song that the Grateful Dead used to play is "I Know You Rider". It switches between the Mixolydian and Dorian modes.

 

[Charlie Tuna]

STRONG username-to-thread derail content...

Not only that, but your message was the 2,112th time you've posted to TB. Merely coincidence?

Ha! The coincidence is extremely strong. I should play the lotto today.

To answer the original question: I use modes to learn the finger board and also help with note choice but now am more focused on dissecting chord tones, approaches and shapes within chords. I should go back and practice descending through the modes and in particularly starting on the A-string and going down to the E-string where shifts are involved. That can twist the fingers up.

 

[bigjames]

I checked yes. I understand modes and have for a long time, but did not really consciously apply them to playing bass. I recently started playing with a small jazz group and found that speaking and thinking in terms of modes began to have some value.

So, fairly recently, I spent an hour figuring out the fingerings for each mode and practicing them at speed.

 

[Lowbrow]

I like them Nixon Libyan.

 

[Snarf]

I play a lot of folk music that's strings based (fiddles, banjos, guitars, mandolins) and there are many modal songs in that repertoire. I might still just play root-five, but the song itself is modal.

Here's one example. The changes are I to bVII to I to V. Mixolydian with the V (because it's major) being an example of modal interchange because it uses the V chord is major, so Ionian mode.



A very similar song that the Grateful Dead used to play is "I Know You Rider". It switches between the Mixolydian and Dorian modes.

Personally I wouldn't describe the tune you posted as a modal tune; I would describe it as being in the key of A, because it does use a D chord to get back to A. It uses modal interchange because of the G chord, but it's still, to me, "mostly" functional tonal harmony.